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London Diary

Description:

Written by Lorenza Mazzetti, the first woman film director ever to be funded by the BFI, London Diaries/Free Cinema is the unique story of the birth of Free Cinema in London. It describes the making of Together (1957), a neglected masterpiece of British Free Cinema. The book introduces key figures of Free Cinema, such as Lindsey Anderson, and outlines the struggle of a young Mazzetti to find her way in London.
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Review

'Lorenza Mazzetti's London Diary, her memoir of coming to London from Italy in the chaos and brokenness of the years after the second world war, how she met both casual cruelty and unexpected kindnesses, and how a smattering of luck, bravado and good friendship forged the film-maker and artist she became. It transmits the terrible fracture and surreality of aftermath as only a real admirer of Kafka could.' --Ali Smith The Guardian

Excerpt. © Reprinted by permission. All rights reserved.

Mazzetti developed her filmmaking skills alongside her friends and fellow filmmakers, who also took part in each other's projects. Together first screened as part of the Free Cinema collective programme.xiii According to Lindsay Anderson, this name was simply “a label of convenience”,xiv bait for the press that the young directors who founded the movement – Anderson, Tony Richardson, Karel Reisz and Mazzetti herself – used to promote a programme that included their recently completed experimental and documentary short and medium-length work. Limited resources not only meant that their work was unlikely to become commercially significant, it also dictated a makeshift and often sparse approach. In a statement used as programme notes for a subsequent Free Cinema screening in May 1957, 'Free Cinema 3', the committee argued that with funds and equipment as scant as theirs “You cannot make a feature film, and your possibilities to experiment are severely restricted. But you can use your eyes and ears. You can give indications. You can make poetry.”xv Following these principles, Mazzetti and her peers developed a fiercely independent family of film-thinkers, whose work blended a confessional mode with socially-minded, everyday observations. Free Cinema grouped without binding, suggesting unity without forcing it. The first screenings were held at London's National Film Theatre in February 1956 and, along with Mazzetti's Together, the programme included Anderson's O Dreamland and Momma Don't Allow, co-directed by Reisz and Richardson. The programme was met with great critical acclaim: its tangible 'independent' streak – the capacity to work outside the mainstream British film industry – was so well received that the movement came to signify, in Isabelle Gourdin-Sangouard's words, “a template for a transnational, transcultural approach to filmmaking”.xvi A lack of interest in plot-driven narratives is a common feature, along with modest subjects: a day at Margate's Dreamland amusement park; a regular Saturday evening at a north London jazz club. Lyricism is often conveyed through the use of non-verbal sounds: environmental noises, scraps of overheard conversations, or parts of music that were recorded live, but which do necessarily match the visuals. (In an article on Free Cinema, Christophe Dupin notes that before the 1960s synchronised sound recording would have been technically impossible to achieve outside a studio.

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London Diary

Product ID: K0956267858
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Imported From: United Kingdom

At BOLO, we work hard to ensure the products you receive are new, genuine, and sourced from reputable suppliers.

Every product in the BOLO catalogue is sourced through our Verified Global Supply Network of verified sellers, authorized distributors or directly from the manufacturer.

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If you ever have concerns regarding the authenticity of a product purchased from us, please contact Bolo Support. We will review your inquiry promptly and, if necessary, provide documentation verifying authenticity or offer a suitable resolution.

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While we strive to display accurate information, variations in packaging, labeling, instructions, or formulation may occasionally occur due to regional differences or supplier updates. For detailed or manufacturer-specific information, please contact the brand directly or reach out to BOLO Support for assistance.

Unless otherwise stated, all prices displayed on the product page include applicable taxes and import duties.

BOLO operates in accordance with the laws and regulations of Qatar. Any items found to be restricted or prohibited for sale within the Qatar will be cancelled prior to shipment. We take proactive measures to ensure that only products permitted for sale in Qatar are listed on our website.

All items are shipped by air, and any products classified as “Dangerous Goods (DG)” under IATA regulations will be removed from the order and cancelled.

All orders are processed manually, and we make every effort to process them promptly once confirmed. Products cancelled due to the above reasons will be permanently removed from listings across the website.

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Visit the Zidane Press Store

London Diary

Product ID: K0956267858
London Diary-0
|

Returns & Warranty policies

Imported From: United Kingdom

At BOLO, we work hard to ensure the products you receive are new, genuine, and sourced from reputable suppliers.

Every product in the BOLO catalogue is sourced through our Verified Global Supply Network of verified sellers, authorized distributors or directly from the manufacturer.

Each product undergoes thorough inspection and verification at our consolidation and fulfilment centers to ensure it meets our strict authenticity and quality standards before being shipped and delivered to you.

If you ever have concerns regarding the authenticity of a product purchased from us, please contact Bolo Support. We will review your inquiry promptly and, if necessary, provide documentation verifying authenticity or offer a suitable resolution.

Your trust is our top priority, and we are committed to maintaining transparency and integrity in every transaction.

While we strive to display accurate information, variations in packaging, labeling, instructions, or formulation may occasionally occur due to regional differences or supplier updates. For detailed or manufacturer-specific information, please contact the brand directly or reach out to BOLO Support for assistance.

Unless otherwise stated, all prices displayed on the product page include applicable taxes and import duties.

BOLO operates in accordance with the laws and regulations of Qatar. Any items found to be restricted or prohibited for sale within the Qatar will be cancelled prior to shipment. We take proactive measures to ensure that only products permitted for sale in Qatar are listed on our website.

All items are shipped by air, and any products classified as “Dangerous Goods (DG)” under IATA regulations will be removed from the order and cancelled.

All orders are processed manually, and we make every effort to process them promptly once confirmed. Products cancelled due to the above reasons will be permanently removed from listings across the website.

Description:

Written by Lorenza Mazzetti, the first woman film director ever to be funded by the BFI, London Diaries/Free Cinema is the unique story of the birth of Free Cinema in London. It describes the making of Together (1957), a neglected masterpiece of British Free Cinema. The book introduces key figures of Free Cinema, such as Lindsey Anderson, and outlines the struggle of a young Mazzetti to find her way in London.
Read more

Review

'Lorenza Mazzetti's London Diary, her memoir of coming to London from Italy in the chaos and brokenness of the years after the second world war, how she met both casual cruelty and unexpected kindnesses, and how a smattering of luck, bravado and good friendship forged the film-maker and artist she became. It transmits the terrible fracture and surreality of aftermath as only a real admirer of Kafka could.' --Ali Smith The Guardian

Excerpt. © Reprinted by permission. All rights reserved.

Mazzetti developed her filmmaking skills alongside her friends and fellow filmmakers, who also took part in each other's projects. Together first screened as part of the Free Cinema collective programme.xiii According to Lindsay Anderson, this name was simply “a label of convenience”,xiv bait for the press that the young directors who founded the movement – Anderson, Tony Richardson, Karel Reisz and Mazzetti herself – used to promote a programme that included their recently completed experimental and documentary short and medium-length work. Limited resources not only meant that their work was unlikely to become commercially significant, it also dictated a makeshift and often sparse approach. In a statement used as programme notes for a subsequent Free Cinema screening in May 1957, 'Free Cinema 3', the committee argued that with funds and equipment as scant as theirs “You cannot make a feature film, and your possibilities to experiment are severely restricted. But you can use your eyes and ears. You can give indications. You can make poetry.”xv Following these principles, Mazzetti and her peers developed a fiercely independent family of film-thinkers, whose work blended a confessional mode with socially-minded, everyday observations. Free Cinema grouped without binding, suggesting unity without forcing it. The first screenings were held at London's National Film Theatre in February 1956 and, along with Mazzetti's Together, the programme included Anderson's O Dreamland and Momma Don't Allow, co-directed by Reisz and Richardson. The programme was met with great critical acclaim: its tangible 'independent' streak – the capacity to work outside the mainstream British film industry – was so well received that the movement came to signify, in Isabelle Gourdin-Sangouard's words, “a template for a transnational, transcultural approach to filmmaking”.xvi A lack of interest in plot-driven narratives is a common feature, along with modest subjects: a day at Margate's Dreamland amusement park; a regular Saturday evening at a north London jazz club. Lyricism is often conveyed through the use of non-verbal sounds: environmental noises, scraps of overheard conversations, or parts of music that were recorded live, but which do necessarily match the visuals. (In an article on Free Cinema, Christophe Dupin notes that before the 1960s synchronised sound recording would have been technically impossible to achieve outside a studio.

Details:

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Or share with link

https://www.bolo.qa/products/K0956267858